Digital Creation and Authorship III

Teaching staff

Oscar Núñez

Oscar Núñez

Graphic, multimedia and audiovisual designer. Video editor and post producer.

Graphic, multimedia and audiovisual designer. Video editor and post producer. Lecturer for the Technological Department. Audiovisual, graphic and multimedia designer for a variety of production companies, film festivals, studios and communication agencies. Extensive training experience through master’s degrees, postgraduate courses, workshops and seminars.

Fact sheet

Formal qualifications: Bachelor's Degree in Design

Credits: 6

Course: Fourth

Typology: Elective Audiovisual Design

Code subject: GDVA14

INTRODUCTION

Creation of a theoretical/practical space where students can deepen knowledge and use tools for three-dimensional rendering and image composition, training in the use and mastery of these tools as a support for audiovisual production.

The aim of this course is for the student to work with different production tools aimed to the creation of audiovisual content for television, multimedia / web productions, and new devices.

Knowledge acquired in this field will be applied to the final productions. Along the course, we will explore the different modelling and 3D tools and techniques, going through the numerous phases of production processes such as lighting, texturing, rendering, which will allow us to control the appearance and details of the final projects, obtaining professional results.

 

CONTENTS

1. Initiation and introduction to the 3D world

  • Understanding the work flux in 4D CINEMA.
  • Clarifying the differences between 2D and 3D.
  • How does the 3D software work?
  • Navigating the viewports.
  • Three-button mouse navigation and shortcut keys.
  • Interface revision.
  • Project parameters configuration.
  • Application preferences configuration.

2. Understanding the hierarchic relationships between objects

  • Understanding the relevance of the hierarchy of objects.
  • Creating, selecting and transforming objects.
  • Object categories: comparing active and passive objects.
  • Object types.
  • Using the attribute manager to modify object attributes.
  • Creating basic models with primitive and void objects.

3. Working with Splines

  • Creating and working with splines.
  • Selection and transformation of the points in a spline.
  • Modelling with splines: Sweep NURBS.
  • Modelling with splines: Lathe NURBS.
  • Modelling with splines: Extrude NURBS.
  • Extruding and organising Adobe Illustrator® outlines.

4. Polygonal modelling tools

  • Understanding the basic components of 3D objects: points, edges and polygons.
  • Knife tool.
  • Extrusion tool.
  • Inner extrusion tool.
  • Close and connect polygon geometries with the create polygon and bridge tools.
  • Organic modelling: creating an object HyperNURBS.
  • Organic modelling: configuring a scene with reference images.
  • Organic modelling: creating a simple model.
  • Organic modelling: adding final details.

5. Deforming to modify objects

  • Working with deformers.
  • Deforming objects: bend.
  • Deforming objects: wrap.
  • Deforming objects: spline wrap.

6. Materials and texturing

  • Understanding material channels.
  • Applying materials: projection methods.
  • Creating materials: reflective surfaces / shiny surfaces.
  • Creating materials: coarse surfaces / surfaces with gaps.
  • Creating materials: transparent surfaces.
  • Using alpha channels to create tags or copies.
  • Using selection tags to apply materials into a textured object part using numerous materials (multi material).

7. Lighting

  • How do lights work in the 3D world?
  • Enervation adjusting (Falloff) to limit the amount of light affecting objects.
  • Types of light description.
  • Creating and handling shades.
  • Creating rays of light using visible light.
  • Creating a simple set with three light points.

8. Key frames and animation

  • Understanding key framing animation.
  • Animation in the timeline.
  • The timeline and F‐Curve manager.
  • Copying key frames to create pauses.
  • Exercises: F‐Curve.

9. Camera movement and control

  • Understanding the differences between the Editor Camera and the Camera Object.
  • Exploring visual field and aspect ratio.
  • Parallax: explaining camera movement.
  • Creating a dynamic camera movement.
  • Adjusting and previewing camera movements.

10. Rendering

  • Understanding the Render motor.
  • Render adjustments.
  • Rendering: fixed images versus animation.
  • Multi‐pass configuration for static images.
  • Rendering multiple file lots.

 

LEARNING OUTCOMES

  • Utilisation of the 2D and 3D techniques to carry out small audiovisual animated productions.
  • Knowledge of the main interactive products in animation.
  • Proper application of conceptualisation and production models to the digital animation.
  • Evaluation and reasoning of the production and budget implications that choosing a certain animation technique has.

 

SPECIFIC SKILLS

  • SS2. Integration of knowledge and approaches related to cultural, artistic and historical references in design, to practical design projects in creative and innovative ways.
  • SS3. The ability to conceptualise and experiment with suggestions for design projects, and approach them with a proactive and problem solving attitude that will facilitate decisive solutions to real or potential problems, all the while taking into account the integration of cultural, artistic and instrumental approaches.
  • SS9. Implementation of design projects which provide alternative solutions and propose improvements based on functionality and viability. These solutions and improvements must also be able to respond to problems or changing situations in advance, through the development of a formal production at a professional level.
  • SS11. Efficiently planning and organising the personal or team work processes of a design project, structuring and prioritising its phases, tasks and responsibilities and, subsequently, evaluating the results obtained according to the previous challenges.

 

EVALUATION

  • Observation of participation
  • Monitoring of the work produced
  • Realisation of works or projects